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Let’s not beat around the bush with what director Noah Baumbach is trying to achieve with Jay Kelly, it’s a blatant love letter to George Clooney. The new Netflix movie is self-indulgent to the point of rubbing in it in our faces, and I’m as surprised as anyone else that I have no problem with that.
In fact, I think it’s this indulgence that means the film can exist and emote in the way that it needs to. Clooney and the character he plays Kelly are basically one synonymous figure, gently poking fun at a sadness that runs through the veins of Hollywood. As they say, you need to be your own cheerleader, and look where that can get you.
Where I was expecting to be emotionally eviscerated by other movies at the London Film Festival (namely Hamnet, as every critic and their dog suggested), Jay Kelly delivered meditative heartbreak where its programmed rivals have failed to. There’s nothing too overt or gauche happening to achieve this, merely a lot of sitting in the moment, thinking and processing.
I’d go as far as to say that Jay Kelly is the movie many of us need to see this year. I don’t know what kind of permanent Mercury retrograde 2025 feels like it’s in, but people are collectively going through it now more than ever. To be grounded is to bring us back to ourselves, and for Jay/George, the answers aren’t quite what he’d hoped for.
Jay Kelly isn’t just an ode to George Clooney, but regrettable choices
Let’s set the scene: After filming his latest big picture, Jay Kelly thinks he wants out of the business. When a longtime mentor suddenly dies, he’s brought face-to-face with things in his past that he’d rather forget. With his daughters making their own way in the world, Kelly impulsively decides to follow his youngest to Europe, throwing the lives of everyone around him into jeopardy.
Like him or loathe him, Clooney is the epitome of old-school Hollywood. He’s got the voice, charm and physicality of peers gone by, and still never fails to make a group of people swoon at his feet at the age of 64. Is he the best actor around? No. Have all of his films been successful? Absolutely not. Yet he remains golden.
Kelly is exactly the same. By his own admission, he isn’t the best actor and hasn’t made the best decisions professionally or personally. This leaves him wondering if his 35-year career actually meant anything. Kelly’s family life isn’t much better, as he’s now estranged from his eldest daughter, Jessica (Riley Keough), while his youngest, Daisy (Grace Edwards), is determined to find her own feet. As he soberly tells us, “my memories are all in movies. That’s all they are, memories”.
This is where Clooney and Kelly differ. While we’ve got no idea what goes on in Clooney’s personal life (and nor should we), Kelly’s is violently ripped apart. We follow his life through flashbacks of his youth, adulthood and recent past, all while present-day Kelly watches on in the moment. It’s clear that introspection is never something he’s considered, running through life like a bull in a China shop.
Truthfully, he’s ruined just about everything without realizing. Alongside his daughters, friend and manager Ron (Adam Sandler) believes their relationship is purposeful while Kelly sees it as transactional, and publicist Liz (Laura Dern) is one crisis away from jumping ship. Kelly decides he doesn’t really know who he is, and everyone feels the consequences.
But while that’s a massive nuisance for literally everybody who has ever met Jay Kelly, it’s helpful for us as a viewers. By examining his career, personal choices and parenting in painstaking detail, we have no choice but to be confronted with our own lives in the process. Can you truly have a work-life balance? Will our kids resent us for how much our careers pull us in other directions? Are we making the right decisions for ourselves and our loved ones?
As life likes to remind us, there are no conclusive answers for this. But watching Kelly struggle to comprehend his own accountability packs the ideal emotional punch. As Jay Kelly continues, we become one with him, laughing, crying and resolving his issues as if they are our own. When it comes down to it, they are, and Baumbach knows just how to connect us to that feeling.
Jay Kelly isn’t just about Jay Kelly
As you might expect, Clooney is a duck to water when it comes to his performance, but he’s not the only person behind the fractured man. Sandler returns to a comedy-drama balance as the long-suffering Ron, laying his heart on the line for it to get openly beaten by Kelly’s self-delusion. It’s the perfect blend of stern and soft, and we’re rooting for him to stick up for the quality of life we know he deserves.
Liz doesn’t suffer fools, which is the counter-balance needed to an industry intent on telling Kelly what he wants to hear. While I absolutely hated watching Jim Broadbent die for the 137465th time in a movie (playing Kelly’s mentor Peter), Riley Keough is my standout supporting performance.
As a woman in a lot of pain, where she is in life and how she’s choosing to live it has the most significance for understanding who Kelly is. She is desperate for her dad to listen to how she feels, yet direct about not wanting to be in his life on a permanent basis. It’s a case of too little to late for Kelly, and an emotionally excruciating phone call scene hammers that point home.
Sure, Baumbach isn’t doing anything exciting or fresh with his vision and direction, and there’s a part of me that’s annoyed with myself for loving a film about the most-documented genre of all time (men in Hollywood). But I loved how Jay Kelly left me examining my own life, reassessing what’s going on around me and reminding me it takes a village to be a decent person – it’s surprising how easy it is to forget self-reflection.
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jasmine.valentine@futurenet.com (Jasmine Valentine)
